從紡織設計到當代藝術－談香港六廠紡織文化藝術館「須藤玲子：『布』之作業」展

When Textile Design Meets Contemporary Art - Sudo Reiko: Making NUNO Textiles Exhibition at the Centre for Heritage, Arts and Textile, Hong Kong

10.6686/MuseQ.202004_34(2).0004

林嘉琪(Ka-Ki Lam)

博物館學 ； 紡織文化 ； 當代藝術 ； 香港博物館 ； 須藤玲子 ； museum studies ； textile and culture ； contemporary art ； Hong Kong museums ； Reiko Sudo

博物館學季刊

34卷2期（2020 / 04 / 01）

75 - 89+91

繁體中文

國際知名的日本紡織設計師須藤玲子，2019年首次於香港六廠紡織文化藝術館舉辦大型個展「須藤玲子：『布』之作業」展。該展糅合紡織設計和當代藝術，訴說須藤玲子的紡織設計，以及織物所連繫的日本傳統和地方紡織工業故事。本展評就「從紡織設計到當代藝術」、「紡織品的展示與互動」、「紡織與地方」、「紡織主題特展的反思」等方面，分析該展的內容特色，評論它如何呼應當下博物館和紡織文化研究理論和關注，並提出與之相關的紡織主題展覽策展的反思和建議。當博物館結合不同學科或專業角度來策劃展覽和詮釋紡織品，能夠激發策展人、參展藝術家和觀眾重新認識紡織品的內涵與脈絡。在策劃地方紡織工業主題展覽時，筆者認為博物館人員可考慮涵蓋紡織工人對傳承傳統的看法，使博物館的敘述更具包容性。既有的學術研究多集中於歐美博物館案例，較少論及亞洲地區的紡織博物館實踐。本文盼望以一個亞洲地區的紡織主題展覽為例，探討它如何回應歐美的博物館理論，使現今紡織與博物館學術討論案例更加多元化。筆者也寄望這篇有關策展模式和展示的評論分析，能提高香港或亞洲地區博物館學對紡織主題博物館和展覽的關注，推動當地的博物館人員與學者從事更多相關的研究與分析。

In 2019, the Centre for Heritage, Arts and Textile (CHAT) in Hong Kong held an unprecedented solo exhibition by famed textile designer Reiko Sudo, entitled ＂Sudo Reiko: Making NUNO Textiles＂ Exhibition. This special exhibition showcased the classic textile designs of Sudo, as well as the stories of Japanese traditions and the local textile industry embedded in Sudo's textiles from multiple perspectives, such as textile design, contemporary art, and creative media. The aims of this exhibition commentary are to analyze the characteristics of this special exhibition and how it responds to the contemporary concerns of museum studies and textile studies, and to provide relevant suggestions. Under the theme of ＂weaving the past and present＂, this essay is divided into five topics: textiles and museums, from textile design to contemporary art, display and interactivity of textiles, textiles and place, and rethinking textile special exhibitions. The author argues that adopting a cross-disciplinary approach to the curation of textile exhibitions encourages curators, artists, and audiences to rediscover the diversified meanings of textile collections. For exhibitions related to the textile industry, a more inclusive narrative can be achieved by including the voices of local textile workers. There is increasing interest in the academic discussion of textiles and museums in Europe and America. However, such discussions in Asia have been limited. It is expected that this essay will serve to diversify the current academic discussions in the fields of textile and cultural studies and museum studies by providing a case study from Hong Kong and to promote and raise awareness of textile curation among museum professionals and researchers in Hong Kong and Asia.

1. 張崇山(2003)。博物館特展的根本問題與策略問題。博物館學季刊，17(1)，7-13。
   連結：
2. Ambrose, T.,Paine, C.(2006).Museum Basics.London:Routledge.
3. Ames, M. M.(1992).Cannibal Tours and Glass Boxes: The Anthropology of Museums.Vancouver:UBC Press.
4. Barnes, R.(2014).Textiles and Museum Displays: Visible and Invisible Dimensions.Textile Society of America ennial Symposium Proceedings,933.
5. Borkopp-Restle, B.,McNeil, P.,Martinetti, S.,Miller, L.,Riello, G.(2016).Museums and the making of textile histories: Past, present, and future.Perspective,1(2016),43-60.
6. Christidou, D.,Pierroux, P.(2019).Art, touch and meaning making: An analysis of multisensory interpretation in the museum.Museum Management and Curatorship,34(1),96-115.
7. Clark, H.(Ed.),Vänskä, A.(Ed.)(2017).Fashion Curating: Critical Practice in the Museum and Beyond.London:Bloomsbury.
8. Davies, S. M.(2010).The Co-production of temporary museum exhibitions.Museum Management and Curatorship,25(3),305-321.
9. English, B.(2011).Japanese Fashion Designers: The Work and Influence of Issey Miyake, Yohji Yamamotom and Rei Kawakubo.London:Bloomsbury.
10. Hemmings, J.(2006).2121: The textile vision of Reiko Sudo and NUNO.Textile,4(3),362-367.
11. Hemmings, J.(2019).Floppy Cloth: Textile Exhibition Strategies Inside the White Cube.Textile,17(4),412-434.
12. Jackson, L.(2002).Twenty-Century Pattern Design: Textile and Wallpaper Pioneers.New York:Princeton Architectural Press.
13. Jefferies, J.(Ed.),Conroy, D. W.(Ed.),Clark, H.(Ed.)(2016).The Handbook of Textile Culture.London:Bloomsbury.
14. Kettle, A.(2019).Textile and Place.Textile,17(4),332-339.
15. Lang, C.,Reeve, J.(2018).New Museum Practice in Asia.London:Lund Humphries.
16. McCarty, C.(Ed.),McQuaid, M.(Ed.)(1998).Structure and Surface: Contemporary Japanese Textiles.New York:The Museum of Modern Art.
17. Melchior, M. R.(Ed.),Svensson, B.(Ed.)(2014).Fashion and Museums: Theory and Practice.London:Bloomsbury.
18. Petrov, J.(2019).Fashion, History, Museums: Inventing the Display of Dress.London:Bloomsbury.
19. Pye, E.(2007).The Power of Touch: Handling Objects in Museum and Heritage Context.Walnut Creek, Calif.:Left Coast Press.
20. Renshaw, J. R.(1999).Kimono in the Boardroom: The Invisible Evolution of Japanese Women Managers.Oxford:Oxford University Press.
21. 六廠紡織文化藝術館(2019).歡迎蒞臨棉紡廠.香港:六廠紡織文化藝術館.
22. 王嵩山(2003)。特展雙刃。博物館學季刊，17(1)，5-6。
23. 曾信傑(2001)。特展：博物館行銷的利器。博物館學季刊，15(3)，39-49。